Art integration has been used to explore "the relevance and approaches to arts education connected to [the larger] curriculum and instruction with learners of all ages, including teacher learners" (Cahnmann-Taylor & Sanders-Bustle, 2019, p. 2). Art integration utilizes commonalities among the many components of other disciplines.…

In contemporary art, many artists have incorporated playful and functional elements into their artistic expression beyond the conventional perception of art merely as an appreciated object. In this article, the authors touch on the movement of art in daily living and explore the playful, functional, and interactive nature of art by Tin Yan Wong, a…

When first encountering contemporary art, the viewer is confronted with particular challenges--the works can be both surprising in application of materials and provocative in presentation. Contemporary art can confound its audience as they attempt to decode and interpret its meaning. This Instructional Resource outlines an approach for art…

This article seeks to help teachers design learning experiences that allow students to manage feelings and emotions before they emerge in the form of aggressive behavior. The author's investigation begins by reviewing the findings of theorists who identify linkages between emotional management, the onset of aggression, and the artistic process. He…

Art educators are concerned with exposing their students to contemporary art making practices. They aim to create fresh lessons that expand their understandings of art in today's world while highlighting the importance of imagination. With a personal interest in performance and street art (art forms that have gained popularity in recent years),…

In this article, the author discusses some of the photographs and videos that her students produced, and shares how their artwork serves as one way that, when given freedom and choice, children will incorporate violent play into their artmaking activities. The author argues that these images are not evidence of inherently violent, dangerous, or…

In this Instructional Resource, Denmead and Brown consider how "Ruffneck Constructivists," an exhibition curated by Kara Walker at the Institute for Contemporary Art (ICA), University of Pennsylvania, can disturb and provoke young creatives and art education more broadly. For this exhibition, Walker draws on the figure that MC Lyte…

In this article, the authors discuss mixed-media projects done with elementary students in a summer art camp and preservice elementary teachers taking Visual Arts in the Elementary Classroom, illustrating their consideration of how stories carry the curricular potential to bring students' out-of-school experiences into the classroom. In order…

A student's lack of belief in his or her own ability to do well in school can be a driving component of disengagement. In response, the author created art activities aimed to build students' confidence in their ability to learn, carry out a given art task, and identify a competence; such asset-based thinking approaches encourage students to reach…

In this article, the author examines how art educators can create narrators of art history rather than those who ascribe truth to the opinion of a few. She presents a series of tangible classroom activities that will potentially help art history become meaningful to students' lives. The author states that students have a right to access art…

Educators hope that the impact teaching and curriculum have on students extends far beyond the classroom, making practical connections to daily life. Powerful myths about where art happens, who participates in the art world, and the communities that judge art, however, can cause feelings of exclusion, where even formally trained artists can feel…

"The Moving Figure" unit of study examines the relationship between observation, expression, and memory drawing techniques with second year college-level Illustration students. The goal of the exercises is to foster the development of a personal artistic voice in drawing by asking the students to directly place themselves in-situ within…

Street artist Morley describes how his perspective on graffiti changed when more cosmopolitan art school peers introduced him to what at the time was being redefined from "vandalism" to "street art." Morley explains that, as fascinated as he was, his untrained suburban eyes couldn't make out the words or their meaning in…

Diana Al-Hadid's sculptures reflect the many locations, cultures, histories, and mythologies that have shaped her as an artist. In large-scale works which have the appearance of architectural ruins, Al-Hadid employs imagery drawn from many diverse interests including science and technology, history, and literature. She also incorporates images and…

In this article, the author describes ethical encounters in Room 13, a schoolroom where children made what they wanted, posed their own questions, and ran an art room like a small business. In Room 13 children had the responsibility to maintain all aspects of the art studio. Specific decisions fell to an annually elected management team, a small…